even so... i'm not a DMX expert but for example in my SP-1200 the individual outputs have different (analog) filter eg settings, very prominent on output 1-2 which gives characteristic results ... i know the linn's hihat section was actually an env triggered loop, and the transpose detuning which is probably the most significant sound characteristic, so using static samples kind of looses the magic even for these digital drum machines imo.. a vintage sampler with similar specs can however restore a bit of it.. just my 2c..

when i said stock for the second..i meant stock DMX (don't underestimate the power of layering)

i understand you're chasing the processing chains.. all i'm saying is you might want to consider investing in a real DMX seeing how passionate you seem to be about it. i use to endlessly ponder myself into how to get 808/909 samples to sound like my favorite records, well i just ended getting the real ones and problem solved. another perhaps cheaper alternative is to get a lo-fi sampler like S-950 or Emax, in order to get closer to the original DMX engine (although i believe it was 8-bit). I put my Linn/DMX samples through my SP1200 and i get that instant smack and awesome detune sound even though the source is from my DAW..

Definitely try and invest in the real thing! the eproms on electrogate are the raw samples i.e before they go through the filters and envelops of the DMX.
It took me a while to track down my DMX but it was well worth it. Having the DMX gets you about 80 percent there i'd say because in addition to the sound the sequencer plays a part it creating the classic feel!

Believe me I've analyzed the kit and tried a whole lot of things that don't come anywhere near it, the only thing I can think of is Parralell compression which I have tried also, there are so many variations and chains of all these things that it will take some time to figure out.

I've already messaged Dave Frank on his site/blog, if you go on his contact page of his site you'll see my post.

He says pretty much the same as analogbass, kit with some eq n compression.. I guess the question then is what eq and compression.

I'm still experimenting anyway on some new projects, getting closer.

Tape must play a big part also.
I agree EQ is simple providing you know how and where to use it

Having a real DMX would be nice but out of the question atm, however my logic is even if I had one, yes I'm getting the raw sounds, once it's in the computer, how is it any different from samples and ones that are most likely recorded through better gear than my 410. Bear in mind I'm not concerned about other advantages of the machine like timing issues or 'feel' etc.. Only advantage I can think of is with the pitching.

Quote:

Originally Posted by xanax

when i said stock for the second..i meant stock DMX (don't underestimate the power of layering)

i understand you're chasing the processing chains.. all i'm saying is you might want to consider investing in a real DMX seeing how passionate you seem to be about it. i use to endlessly ponder myself into how to get 808/909 samples to sound like my favorite records, well i just ended getting the real ones and problem solved. another perhaps cheaper alternative is to get a lo-fi sampler like S-950 or Emax, in order to get closer to the original DMX engine (although i believe it was 8-bit). I put my Linn/DMX samples through my SP1200 and i get that instant smack and awesome detune sound even though the source is from my DAW..

Quote:

Originally Posted by tun

True, but they would've always used the separate outs.

So can you elaborate more on how you processed that kick tun? What did most of the leg work if any of the processes?

I've been experimenting with the Pultec trick for fat kicks(given they were around back then), not much luck so far though.

Yeah I know what you mean xanax, I wasn't disputing your points, I agree with you. I just wanted to say that the kick and snare would have been going into the desk via their individual outs.

Anyway, to answer Cabrone's questions. Initially I didn't want to use a transient designer (as there was no such thing in the early 80's afaik), but it seemed the only option after failing to tame the attack with 2 different noise gate plugins... attack was set at 0.00 ms in Simpler too.

I used FreeG to make sure gain was at -18dB between each plug.

Fwiw I think your example uses layering, so I tried a sine under the kick but just couldn't get 30-70Hz right with the 2 sounds together, so I deleted the sine and just concentrated on eq'ing the kick. I used Ableton's spectrum analyser to get the bottom end looking like the example, but it wasn't so useful for above 1KHz as the example you posted has some stuff masking the kick's upper mids. I found it difficult to get the mids/upper mids sounding good, but I guess that would be fine tuned within the context of an actual mix.

Oh, and the kick is from my DX. You can find it in the share samples here thread... DX Kick 01. Chain and settings as follows:

1. Oxford TransMod

2. Tape compression preset on TB_Ferox

3. Equality

4. Oxford EQ

5. Equality

6. Pro-Q

7. TesslaSE, input 0dB, saturate 3.6, output -8dB

Can I ask what track the example you posted is from? Also, what was the source? Youtube, mp3 or what?

Edit, yeah, in this case the Pultec didn't work on the bass for me either. Back in the day I reckon they used graphic and desk eq's, nothing too esoteric.

Wow very intricate, I'll study this and see what I can learn from it, thanks!!

The source is unfortunately MP3, only way of getting a proper copy would be on Vinyl which is very rare and expensive(hell, tracks worth it but I don't have a Turntable anymore lol)

Wow very intricate, I'll study this and see what I can learn from it, thanks!!

The source is unfortunately MP3, only way of getting a proper copy would be on Vinyl which is very rare and expensive(hell, tracks worth it but I don't have a Turntable anymore lol)

Making matters more complicated are the sources and then the mastered and unmastered versions.. I've uploaded a copy of 2 versions, the first is the one I put the kick comparison up before, the 2nd is possibly the remastered version and the only one I'd heard up until a few days ago which has a much rounder sounding kick(interestingly though when i chopped the kick from both and put them sidge by side, i could compress the fat one heavily and got pretty close to the sound of the first kick) and was what I was basing my judgement on(not that exact copy, there are a good few copies about, some sampled from vinyl, background tones etc) However I like them both, I'll stick with the 1st one for reference since it sounds natural...

But anyway it shows the context of the mix... I'll upload something I've been working on with the DMX for comparison to show what I've made so far.

Thanks again.

EDIT: I'm toying with Vari Saturator on your kick, tun.. Sounding verrrry promising! Saturation on top of the eq could very well be the treatment and why I think it does it well is you can target the frequency of the saturation specifically. :D EDIT2: I should note, it's not working on a stock sounding DMX, even one using the transient designer, so it definetely needs to be processed to sound like yours first... I'm on it!

Looking forward to hearing the results, also it'd be great if you would post a screen shot of the Varisaturator settings... I want to try this myself!

Btw, I've changed my mind on the layering thing, I don't think the From Time kick is layered. Also, still intrigued about how they softened the attack back then.... they could've used a gate with external key input I guess.

Looking forward to hearing the results, also it'd be great if you would post a screen shot of the Varisaturator settings... I want to try this myself!

Btw, I've changed my mind on the layering thing, I don't think the From Time kick is layered. Also, still intrigued about how they softened the attack back then.... they could've used a gate with external key input I guess.

Cheers

Well, it was pretty much me just loading it and twisting a couple of knobs and then I was like woah.. it sounds dense! I've uploaded a copy of it, not necessarily the exact settings id use, maybe a little less... it's all about how it fits into the mix int it! But it's an example.

It's got me thinking though, I tried the saturation on the 2bus as well which thickened up the whole track alot, I think I 'get' saturation now, I've always avoided it though as it can make things worse(seems to mess up the balance, can make things weak but this with it's frequency crossover seems to avoid that) but subtle is the key huh... so maybe layers, a little on the kick or drumbuss and a touch on the MB too.

Here's a pic of the settings:

I'd play with the freq knob, gain and pre gain/fx lo in particular.

I've not had a lot of time to experiment yet but like I said before I've noticed just doing it on a stock DMX, DOESN'T work(surprise surprise, like I tried many times months ago) like it is with your processed kick, just comes out flabby.. so I really want to learn your thought process when you were processing that kick and If I picked up correctly from one of your posts before, you were copying the From Time kick visually, from an analyzer(if so which if any particualr type) or weremainly ears? I tend to use my ears and touching my woofer(bad one lol) and an analyzer last but interested in how you might do it or techniques for learning/imitating better.. since I see you done ALOT of EQing, it works but ideally I want to refine it down, if possible.

Any chance you can upload a copy of the DX kick you processed, want to see how much it differs from mine, also what 'velocity' setting if any was it on? A few sample sets I have, have 3 different samples for each velocity setting to I'm assuming there's one on the DMX, I've noticed slight differences between them.
EDIT:Reread your post!

Cheers.

PS: About the transient designers, when was the SPL one made? I searched but couldn't find any dates. Sure there must have been one back then... but anyway, maybe they didn't take off the attack... hmmm

Edit: should add, the copy of this kick is recieving 2 instances of VS, one on the kick channel and a little on the MB since I forgot to turn it off but even with the 1 instance like in my pic, it makes it solid!... when I placed your kick in my track as a replacement of mine with VS, it really gave it a solid back bone, so it's working!

Looking forward to hearing the results, also it'd be great if you would post a screen shot of the Varisaturator settings... I want to try this myself!

Btw, I've changed my mind on the layering thing, I don't think the From Time kick is layered. Also, still intrigued about how they softened the attack back then.... they could've used a gate with external key input I guess.

Cheers

Gating was pretty much standard fair back then especially as the DMX is a bit noisy.

Have a look for the the album Is This The Future by The Fatback Band its all DMX and plenty ok kick by itself! I would class this as minimum processing but the kick is still really nice and a good starting point for further processing.

Have a look for the the album Is This The Future by The Fatback Band its all DMX and plenty ok kick by itself! I would class this as minimum processing but the kick is still really nice and a good starting point for further processing.

Good one.. I love that album! Amazing, especially the title track. Your right as to it being a good sample source. All the DMX sounds are open pretty much and no effects. I always use those sounds. Great Memorymoog work on that album also.

Anyway been experimenting today a bit(in between my POS M-Audio 410 cutting out on me all the time, useless!)

Was trying to process my 'DMX' kicks like yours tun but wasn't happening until I dl'd your pack(which I already dl'd a while back, twice lol) and inspected the kicks and compared them to 2 DX kicks I have already and there definetely seems to be a difference between the DMX & DX Kicks, maybe this can account for the different sounding kicks we're hearing between some 'DMX' using tracks? The DX sounds smaller and thuddier while the DMX sounds flabbier with more bass blob and this is concurrent through the 4 different kits I have of the DMX.

So could this be just by chance or is there a difference in the internals of the 2 machines? I know how people are recording them into the computer can influence the sound but the difference seems consistent between them.

So maybe the DX is the way forward for these particular 'harder' sounding DMX/DX kicks.. maybe not.. but I'm going to take it up with the DX this way forward lol

tun, you don't happen to have a full sample kit of the DX do you? I have 1 full kit but it's missing a clap, the pitching is all over the place and I'm never sure if it's good qualit. Or if you know of any about? I can't even remember where I got mine from but there's not many floating about.

Anyway I've started a little track using the DMX just to see how it will work, implementing the saturation and other techniques I've learned, I'll up it tomorrow hopefully n see what you think.

Have a look for the the album Is This The Future by The Fatback Band its all DMX and plenty ok kick by itself! I would class this as minimum processing but the kick is still really nice and a good starting point for further processing.

Thx for the recommendation, will get hold of a copy!

Quote:

Originally Posted by Cabrone

If I picked up correctly from one of your posts before, you were copying the From Time kick visually, from an analyzer(if so which if any particualr type) or weremainly ears?

I used Ableton's Spectrum plug on the Accurate Fast setting. One instance on the example kick, and another at the end of the chain on my kick. Constantly A/B ing between the two.

Quote:

Originally Posted by Cabrone

About the transient designers, when was the SPL one made?

I think it was sometime around the mid to late 90's. 99.9% sure there was no such thing as a transient designer in the 80's.

Quote:

Originally Posted by Cabrone

when I placed your kick in my track as a replacement of mine with VS, it really gave it a solid back bone, so it's working!

Good!

Quote:

Originally Posted by Cabrone

I see you done ALOT of EQing, it works but ideally I want to refine it down, if possible.

From countless threads/advice, reading interviews etc, I believe it is possible to get an otb sound itb, but it just takes a lot more work. Maybe there's a simpler way, but I've found that narrow EQ boosts and cuts make a lot of difference. Also closely examining the bottom end in the analyser, ie: what's happening under 100Hz, how the fundamental peaks before the lower frequencies (similar to how a pitch swept analogue kick looks like in an analyser)... studying the decay time and slope around 70Hz-30Hz and matching the response time (hope I'm making sense lol). EQuality's HPF/shelving options are excellent for this kind of work imho. Obviously, good monitoring and room help too.

Quote:

Originally Posted by Cabrone

what 'velocity' setting if any was it on?

Loud!

Thanks for sharing the Varisaturator screenshot and tips! Hopefully will have some time to work on this again soon. It's inspired me to do an 80's style boogie track lol, but currently in the middle of another project... and must finish it (famous last words lol)!

I'm not sure how the internals differ between the DMX and DX... can't help you there I'm afraid. Anyway, I'll post the rest of the DX kit asap. The DX clap I have isn't as cool as the stock DMX clap, and I don't like the toms as much as the DMX toms (the DX doesn't allow independent tuning of each one, not sure about the DMX).

I used Ableton's Spectrum plug on the Accurate Fast setting. One instance on the example kick, and another at the end of the chain on my kick. Constantly A/B ing between the two.

I think it was sometime around the mid to late 90's. 99.9% sure there was no such thing as a transient designer in the 80's.

Good!

From countless threads/advice, reading interviews etc, I believe it is possible to get an otb sound itb, but it just takes a lot more work. Maybe there's a simpler way, but I've found that narrow EQ boosts and cuts make a lot of difference. Also closely examining the bottom end in the analyser, ie: what's happening under 100Hz, how the fundamental peaks before the lower frequencies (similar to how a pitch swept analogue kick looks like in an analyser)... studying the decay time and slope around 70Hz-30Hz and matching the response time (hope I'm making sense lol). EQuality's HPF/shelving options are excellent for this kind of work imho. Obviously, good monitoring and room help too.

Loud!

Thanks for sharing the Varisaturator screenshot and tips! Hopefully will have some time to work on this again soon. It's inspired me to do an 80's style boogie track lol, but currently in the middle of another project... and must finish it (famous last words lol)!

I'm not sure how the internals differ between the DMX and DX... can't help you there I'm afraid. Anyway, I'll post the rest of the DX kit asap. The DX clap I have isn't as cool as the stock DMX clap, and I don't like the toms as much as the DMX toms (the DX doesn't allow independent tuning of each one, not sure about the DMX).

Look forward to hearing the track!

Cheers

Hey Tun, here's my thinking first the DX and DMX stock kicks are different, most of the classic tracks used a DMX not DX, side by side the difference is clear. Although there are many samples on the net some genuine and some not they wont be as good a starting point as on the Fatback, because I imagine its going through some great outboard gear, but at the same time is minimally processed. I'm thinking when you have time apply your settings and EQ to the Fatback kick and take it from there.

Here's a remix I did 1.5 years ago with my brother using Oberheim DMX. Bassline was synced to DMX and everything else was played/edited around the beat and bassline.
Some of the synth used were Elka Synthex and Jupiter 4.

Well I finally got around to emulating your chain tun and have come a bit short.

Hi there, I finally got around to emulating your DX chain(using your DX kick 01) but I've fallen short.. I coped it exactly but mine seems to miss that critical mid punch/dipth yours has for some reason, did you maybe miss something out in the chain, you used no compression at all?? You can hear the comparison in the clip below.

BTW, When you say you were using FreeG, were you using it just as a reference or actually putting it between the plugins? I used it as a reference and lowered all the outputs of the plugs that I could to circa 18db.

Anyway I've come to realise that for the most it's really just the saturation(In general) I've been missing. So I've been experimenting with that, with success.

I don't really believe anymore there is a difference between the DMX and DX but it would be good to know from someone in the know, it's messed up as every sample pack you get has a slightly different tone/sound to it.

Well I finally got around to emulating your chain tun and have come a bit short.

Hi there, I finally got around to emulating your DX chain(using your DX kick 01) but I've fallen short.. I coped it exactly but mine seems to miss that critical mid punch/dipth yours has for some reason, did you maybe miss something out in the chain, you used no compression at all?? You can hear the comparison in the clip below.

BTW, When you say you were using FreeG, were you using it just as a reference or actually putting it between the plugins? I used it as a reference and lowered all the outputs of the plugs that I could to circa 18db.

Anyway I've come to realise that for the most it's really just the saturation(In general) I've been missing. So I've been experimenting with that, with success.

I don't really believe anymore there is a difference between the DMX and DX but it would be good to know from someone in the know, it's messed up as every sample pack you get has a slightly different tone/sound to it.

Some interesting and valid points. Unfortunately I don't and wont have access to the outboard gear but is there really that much difference?

I don't feel that I am THAT far off off from it, it seems to be more of a balance thing perhaps.

I've attached a clip of a track I'm working on, I was using Drumulator drums initially but switched back to the DMX ones and it's a bit of a mess(I find it hard working with the DMX samples, they're kinda, dull? )

So if you listen to this clip, listen to the kick and then compare it to the tracks I posted, you can hear it has punch yet it has no 'depth', the thing is though If I put a low shelf on the master buss and raise it up a bit, suddenly it seems to have that depth but at the cost of the whole thing sounding unbalanced and muddy.

How do I inject that depth into the low end(kick) without affecting the overall balance too much? I guess this is also a mix question, I've been producing for a long time but only really heavily on mixing the past year and a bit.

roymaya: Well, I think that's the term it's taken these days, I pretty much discovered the genre through youtube, alot of the uploaders call it boogie etc so...I've got about 700 funk tracks favourited on my profile lol, I love the stuff, I'm 23 so it's a bit before my time!

Cheers guys.

PS: Clip shows, with pretty much just drums and then musical parts and yes it's a bit messy, still working on it. :D

Using the middle kick and snare(Kick_02, Snare_02) kick and snare are normal pitching but the clap is pitched down 3 semitones and then the key to the depth is EQ(play with cutting the 400hz range slightly and follow Tun's eq guide for answers) subtle saturation on the individual channel, drum buss and masterbuss(I've not found anything else that works for me like Vari-Saturator yet, Ferox is close) and buss compression... Not got it down to a science yet but I've found that's getting me there.

My chain for the kick is like EQ>Saturation>Compression ...Yeah that's another thing compression, I'd kind of reverted to not using it but tried it out again after hearing tun's kick since his sounded tighter and some nice compression(try SSL style) afterwards can help.

Still not managed to get quite there yet but working on it, would still like to get a good DX kit, not sure if there's a difference between it and the DMX but my all my DMX kits sound different to the 2 DX kits I have.

this thread is quite a hommage to the battle there can be in replicating a simple OTB sound ITB...from what has been said I think we can probably be fairly sure that when these records were produced they probably were just the original drum machine run thru a desk (maybe driven hard) with some desk EQ and perhaps a little compression...perhaps a bit of bus compression and mastering on top-all int he analogue domain.

Probably the best way to help the samples cut thru in the box would be to use some saturation, followed by EQ. Im not sure Id use compression because it may well make the sample smaller. If you have drum bus compression or master compression that could be sufficient...The problem with transient designers is that they can make attack transients a bit sharp which sounds quite digital IMO - but small amounts can be ok.

I recommend you try Fielding DSP Reviver as a saturator because its 3rd harmonic saturation is the most punchy I have heard in the box. Also perhaps CDSoundmaster VTMM2 to make the sound 'bigger'...need to use small amounts to stop over digital processing it tho.

Also it should be noted that the original recordings used the original machines. There is a difference between using a single .wav running in a DAW to having a machine with analogue stages - pumping out beats thru analogue circuits. The originals always sound a lot more organic - where as samples in a DAW always sound a bit static to me.

Anyways - good fight! I suspect if you bought a drum machine and drove it thru a mackie desk you might find things easier but Im sure you can get results in the ITB mix. One other thing you could try is running the DAW sample thru a hardware compressor and driving it thru a Pre. I have a weird feeling I said all of this in previous pages but anyways...

Using the middle kick and snare(Kick_02, Snare_02) kick and snare are normal pitching but the clap is pitched down 3 semitones and then the key to the depth is EQ(play with cutting the 400hz range slightly and follow Tun's eq guide for answers) subtle saturation on the individual channel, drum buss and masterbuss(I've not found anything else that works for me like Vari-Saturator yet, Ferox is close) and buss compression... Not got it down to a science yet but I've found that's getting me there.

My chain for the kick is like EQ>Saturation>Compression ...Yeah that's another thing compression, I'd kind of reverted to not using it but tried it out again after hearing tun's kick since his sounded tighter and some nice compression(try SSL style) afterwards can help.

Still not managed to get quite there yet but working on it, would still like to get a good DX kit, not sure if there's a difference between it and the DMX but my all my DMX kits sound different to the 2 DX kits I have.

Attached below for you is how it sounds on it's own:

Thanks.

thanks, your new track is vintage 1980s funk, you seriously cannot tell it was made today!

what synths are you using on this? i love that strat sound (or is it something else) on the track!

for snare and the clap in particular, do you recommend the same process for each? eq, saturation and compression?

thanks, your new track is vintage 1980s funk, you seriously cannot tell it was made today!

what synths are you using on this? i love that strat sound (or is it something else) on the track!

for snare and the clap in particular, do you recommend the same process for each? eq, saturation and compression?

for your hi hats, did you eq/compress them as part of the group?

Yeah like I said before, Saturation individually on the kick and perhaps the snare, depends if you want it beefier.. AND on the drum buss AND on the master channel and they're pretty subtle, bear in mind I'm not going for a sound like one of these old tracks came off CD where they're pristine and not very low heavy, I'm going for a beefier/fatter sound which is(what this whole thread is about) so that's why so much Saturation. You can route the clap to the same output as the Snare if you want, I've been putting it on it's own out and putting reverb on it(to get that System sound) and some high mid cut sometimes too.

I don't process any of the other percussion in any special way other than on the drum buss.

Just play around really, that's what I'm doing what I've mentioned before are just things that will set you in the right direction and have done for me.

Guitar is Realstrat

For saturation check the Voxengo Vari-Saturator like I mentioned before aswell as Ferox, not heard any others that come close but you could try SWAN808's suggestion.

Yeah like I said before, Saturation individually on the kick and perhaps the snare, depends if you want it beefier.. AND on the drum buss AND on the master channel and they're pretty subtle, bear in mind I'm not going for a sound like one of these old tracks came off CD where they're pristine and not very low heavy, I'm going for a beefier/fatter sound which is(what this whole thread is about) so that's why so much Saturation. You can route the clap to the same output as the Snare if you want, I've been putting it on it's own out and putting reverb on it(to get that System sound) and some high mid cut sometimes too.

I don't process any of the other percussion in any special way other than on the drum buss.

Just play around really, that's what I'm doing what I've mentioned before are just things that will set you in the right direction and have done for me.

Guitar is Realstrat

For saturation check the Voxengo Vari-Saturator like I mentioned before aswell as Ferox, not heard any others that come close but you could try SWAN808's suggestion.

i forgot to ask what synthesizers are you using? hardware or software? on the breakers groove song, i love the bass and that lead sound!

are they simple sounds to program, which vsts do you guys recommend for funk?

i love those funk sounds from The System and countless others.
thanks

Cheers,

Yeah I the sounds are very simple synthesis, easy to program when you understand I guess, I remember years and years ago before I was into this music and produced other styles trying to make the Pitch modulated squiggly sounding synths with Synth1 and failing, as simple a sound as it is! lol

It's true with Funk it's not so much about the sound but how it's played, anything pretty much can be funky.

As far as sounds and VST's I'd recommend sticking to the same gear used back then(not to say you can't do them with any VST but you won't get the same character), I mainly use Prophet(It's mainly the prophet in that song, the songs you like)(I'm all software BTW), Moog and Juno emulations tbh you can't go wrong with any of them, particularly the Prophet but any other synth or their emulation that was used back then by the producers of these genres or their emulation will get the sound(not necessarily tonally but character wise hopefully), The System used the Oberheim OBX synthesizers aswell as the Prophet and others so you could check that out..

For some of the free versions, check out TAL's UNO, Minimogue, and Scp5(prophet emulation) but IMO, Arturia do the best emulations.

Then you want chorus to get that detuning sound, IMO that's a big important part of the character and one of the things I love, I'll take a chorus VST and set it to a 100 and set the width low so it's subtle with a slowish modulation rate to get the detuning effect and then ofcourse Reverb, I've still to fully understand their way of using it back then.

Ok just to say, I found out exactly how to do the sound I was after, it's pretty simple and it's: tape, real or convultion, saturated.

So I agree entirely now, analogbass(and anyone else who said tape/saturation that I brushed off ignorantly lol) you were right that it's just the dmx with even little processing but then again this thread is about getting that sound ITB.

The method I have of doing it has bad artificats though(it's ITB btw) so I'm attempting to replicate it ITB with an algorithmic tape plugs, with little luck(so far)... seems like there's still a way to go with ITB plugs.

Just thought I'd let anyone interested know. So don't waste your time trying to get THAT saturated sound through other means like I have so far.

The DX seems to require different processing than my other favorite drum machines, linn drum and 707, those I typically just make a huge cut @ around 500hz to wipe out the fartyness (sp?) but the DX requires a ton it seems =P

Here are the settings i did for this song. It's pretty close to done but i had to do some on headphones cause my kids went to bed..